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Journal of Sistan and Baluchistan Studies

Journal of Sistan and Baluchistan Studies

AN EXEGETICAL EVALUATION OF PAINTING BASED ON THE OUTWARD-ORIENTED CRITICAL FRAMEWORK DERIVED FROM THE PHILOSOPHICAL VIEWS OF ṢADR AL-DĪN SHĪRĀZĪ (A CASE STUDY: THE CORONATION OF AHMAD SHAH DURRANI BY ABDUL GHAFOOR BRESHNA)

Document Type : Original Research Article

Authors
Reza Rafiei Rad 1
Parisa Shad Ghazvini 2
1 Postdoctoral Researcher in Art Studies, Department of Painting, Faculty of Art, Alzahra University, Tehran, Iran.
2 Associate Professor, Department of Painting, Faculty of Art, Alzahra University, Tehran, Iran.
10.22034/jsbs.2025.528241.1091
Abstract
Among the multitude of works by contemporary Afghan painters, some paintings, such as Abdul Ghafur Barshna’s painting of the coronation ceremony of Ahmad Shah Abdali, painted in 1942, are of particular importance. Given the magnitude of the historical event that led to the founding of Afghanistan, the painter’s approach to this historical phenomenon, despite different and conflicting narratives, the visual values of the painter’s imagery, as well as the specific time of creation and presentation of the work, are of particular importance. However, understanding the values above is not possible without systematic research based on scientific criticism. The present qualitative research, to introduce and analyze the painting above, seeks to answer these questions. First, what is the unifying hypothesis that unites all the components, elements, and visual qualities? Also, what is the purpose of this painting? What values has the aforementioned work achieved based on this purpose and unifying hypothesis? This research was conducted in four stages using a descriptive-analytical method and using library, internet, and archival resources, as well as the method of external evaluative criticism, derived from the opinions of Sadr al-Din Shirazi, and achieved the following results. In the first stage, the general nature of the inherent and contingent and the imperfect causes are examined, and in the second stage, the categories are examined. In the first stage, Quantity, Essence, Appearance, and Causes of Defects are examined, and in the second stage, the Ten Categories are examined. The purpose of the work of art, in this painting, can be interpreted as creating a rational unity of opposing and contradictory narratives about the founding of Afghanistan, presenting a magnificent scene, the submission of the representative of the Barakzai, and emphasizing the religious and heavenly legitimacy of the government. In the fourth stage, loyalty to the stylistic techniques of classicism and the appropriate use of visual elements and qualities, composition, and the use of symbolic signs and connotations with native Afghan content are among the things that have been used to achieve the goal of painting with Afghan content.
Keywords
Contemporary Afghan Painting
Abdul Ghafoor Breshna
Ahmad Shah Durrani
Establishment of Afghanistan

چکیده: در میان آثار متنوع نقاشان معاصر افغانستان، برخی آثار همچون نقاشی عبدالغفور برشنا از مراسم تاج‌گذاری احمدشاه ابدالی (1942) جایگاه ویژه‌ای دارند. اهمیت این اثر ناشی از عوامل گوناگونی است؛ از جمله عظمت رویداد تاریخیِ تأسیس افغانستان، نحوة مواجهة نقاش با واقعه‌ای تاریخی در میان روایات متنوع و متضاد، ارزش‌های بصری و تصویرسازی نقاشانه در اثر، و نیز زمان خاص خلق و ارائة آن. دستیابی به درک این ارزش‌ها بدون پژوهشی روشمند بر اساس نقد علمی ممکن نیست. از این رو، پژوهش کیفی حاضر با هدف معرفی و تحلیل نقاشی مذکور و در پی یافتن پاسخ به این پرسش‌ها انجام شده است: نخست، فرضیة وحدت‌بخش این اثر، که عناصر، اجزا و کیفیت‌های بصری را یکپارچه می‌سازد، و غایت آن چیست؟ دوم، این اثر بر اساس آن فرضیه و غایت، چه ارزش‌های هنری و مفهومی به دست آورده است؟ این پژوهش با رویکرد توصیفی ـ تحلیلی و بر مبنای منابع کتابخانه‌ای، اینترنتی و آرشیوی، همچنین با بهره‌گیری از روش نقد ارزیابانة برون‌نگر چهارمرحله‌ای برگرفته از آراء صدرالدین شیرازی انجام گرفته است. یافته‌ها نشان می‌دهد: در مرحلة نخست، ماهیت کلی اثر در ابعاد ذاتی و عرضی و علل ناقصه بررسی شده است؛ در مرحلة دوم مقولات تحلیلی مورد توجه قرار گرفته؛ در مرحلة سوم، فرضیة وحدت‌بخش از رهگذر گزینش آگاهانة نقاش از روایات متعارض (استعماری و پیشااستعماری/ سنتی و مدرن) و خلق ترکیب‌بندی خاص برای انتقال پیام اثر شکل گرفته است؛ و در نهایت، غایت نقاشی در ایجاد وحدت عقلانی روایت‌ها دربارة تأسیس افغانستان، نمایش صحنه‌ای باشکوه با حضور نمایندة بارکزایی‌ها و تأکید بر مشروعیت دینی و آسمانی حکومت تبلور یافته است. در مرحلة چهارم نیز پایبندی به شگردهای سبکی کلاسیسیسم، به‌کارگیری مؤثر عناصر و کیفیت‌های بصری و استفاده از نمادها و نشانه‌های دلالی، در راستای تحقق غایت و محتوای ملی ـ افغانستانی اثر مورد توجه قرار گرفته است.

کلیدواژه: نقاشی معاصر افغانستان، عبدالغفور برشنا، احمدشاه درّانی، تأسیس افغانستان.

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Journal of Sistan and Baluchistan Studies
Volume 6, Issue 1
June 2026
Pages 21-33

  • Receive Date 03 June 2025
  • Revise Date 06 August 2025
  • Accept Date 03 September 2025
  • Publish Date 20 June 2026